Explainer
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Death & life
6 min read

Dealing with death – why the fuss?

“No fuss” cremations are getting more popular. Not giving a formal space or process to say goodbye feels like a seismic cultural shift to Jane Cacouris. Part of the How To Die Well series.

Jane Cacouris is a writer and consultant working in international development on environment, poverty and livelihood issues.

A sculpture shows mourning women raising hands and fists to the sky.
The Tragedy of the Sea memorial in Matosinhos, a Portuguese port.
Prilfish, CC BY 2.0, via Wikimedia Commons.

Widow’s Rip is a notorious swirl of ocean just offshore from Nazaré, a centuries-old fishing village on Portugal’s windy and unpredictable Atlantic coast. Decades ago fishermen used oxen to pull brightly painted boats onto the beach and then rowed into the giant waves. Many lost their lives when the seas were rough. I first visited Nazaré with my Portuguese grandmother as a child and stayed in a fisherwoman’s house with an orange-tiled roof just off the central square. My eyes had to adjust to the gloom every time we went inside as she kept all of the shutters drawn. Even though it was thirty degrees outside, I remember her tanned, crumpled face shrouded in a black shawl that covered her head and shoulders. She wore a black knee length skirt with an array of petticoats and black shoes. As a ten-year-old, I was a little scared. I asked my grandmother when the fisherwoman’s husband had died. “About twenty-five years ago at sea”, she said. She explained it would be a sign that you didn’t love your late husband if you didn’t wear black for the rest of your life.  

Nowadays, although fishing is still a livelihood for some who live there, Nazaré is known for its sweeping beach and touristy promenade of restaurants, bars and stalls selling Portuguese wares. But the widows, now very old ladies, who lost their husbands to the sea all those years ago still potter around the town dressed head to toe in black. An ingrained tradition of how to grieve.

No other event in our life brings us closer to facing questions of mortality and eternity than the death of a loved one.

Grief and how we deal with the loss of a loved one is of course deeply personal and expressed differently depending on so many things; culture, beliefs, personality, life experience, to name a few. But in recent years, there has been a defined shift in British society away from some of the traditions that have historically accompanied death.  

The growing trend for direct or “no fuss” cremations is an example of this shift, with a rise from 3 per cent of all cremations in 2019 to 18 per cent in 2022 according to a life insurance company’s recent report. A traditional cremation includes a service at the crematorium or place of worship beforehand, whereas a direct cremation does not have a service. Instead, the deceased is taken directly to be cremated with no one in attendance, unless witnesses ask to be present. A simple coffin is used, and the timing of the cremation is determined by the funeral director, usually according to availability.  

Why are families choosing to cut out the funeral?  

Sources point to a range of reasons. A matter of choice – perhaps a statement of faith that the afterlife is not about funeral rituals, or conversely, that there is no afterlife, and the body will just decompose organically and be subsumed back into the Earth so why make a fuss? It can be for practical reasons such as cost; traditional funeral services are much more expensive than a simple cremation, estimated to be approximately £2,500 cheaper. A “no fuss” cremation can also reduce the likelihood of family division or arguments over the type of ceremony. Or family living in different locations geographically means a memorial service scheduled for a more convenient time can be organised.  

All these reasons seem perfectly valid. But not giving a formal space or process to say goodbye does feel like a seismic cultural shift, even for the British, known for our ability to keep our feelings under wraps. Practical reasons aside, are we ducking the emotion that inevitably hits us when we lose someone we love? Or perhaps avoiding the difficult questions that come with death? No other event in our life brings us closer to facing questions of mortality and eternity than the death of a loved one.  

On holiday in Nazaré in his youth, my father remembers a fisherman’s death in the house where he was staying. The night before the funeral - with the deceased laid out in the dining room - each of the women in the family took it in turns to sit in the corridor outside, the top skirt of their seven petticoats over their head, wailing in an outpouring of grief so raw that they couldn’t continue for more than a couple of hours. The “wailing process” carried on throughout the night, the role passing from woman to woman until sunrise. Not only was the loss of the fisherman the loss of their beloved, it was also the loss of a working partnership - the women sold the fish that the men brought home – and the loss of the family’s livelihood and income. The wailing was a necessary part of expressing this agony ahead of the funeral service when the rest of the family would come together to support each other.  

There are also intensely reverent traditions observed with death in Portugal, particularly within the Catholic church. The burial or cremation is usually no more than three days after the person has died. When my grandmother passed away a few years ago, her body was laid in an open casket in a room of the Catholic church in the mountain village in rural Portugal where she had lived most of her life. The night before the funeral, a procession of people visited her to pay their last respects, including distant family members, whilst my immediate family sat with her all night. People touched her arm or hand, and sat and chatted to one another. After Mass the following day, her coffin lined with lead was sealed and she was taken to the family Mausoleum to be laid beside my grandfather, along with the remains of around thirty of our relatives dating back to the early 1900s.  

Brazil, where we lived for several years, has many similarities to Portugal in dealing with death. The time between death and burial or cremation is even faster, usually within twenty-four hours. Family and friends rapidly gather, usually together with the body of the loved one in an open casket. Touching and kissing the body and wailing over it is not uncommon. According to a Brazilian friend, “Bebendo do morto” which means “drinking to the dead” is an old custom where family members raise a final glass of Cachaça, a traditional drink, to the deceased in the presence of their body.  

A funeral service is partly about taking a look back at our loved one’s jigsaw of life, at all the pieces that have slotted together to make up their precious and unique time on Earth.

In all these traditions, the funeral service acts as the closure to the first “phase” of grief, and the passing of the deceased into God’s care. The next phase is then the more private continuation of grief for months or years to come.  

Christians believe in life after death based on a conviction that as Jesus rose from the dead, so will we. A funeral service is partly about taking a look back at our loved one’s jigsaw of life, at all the pieces that have slotted together to make up their precious and unique time on Earth. Of course, there are damaged and missing pieces, but Christians believe that the jigsaw will be made whole and perfect in Heaven with Jesus. It is also a chance to give thanks for the the life of a human being wonderfully and fearfully made in the image of God. 

Regardless of the country, the culture or the tradition, the death of someone we love means that our world will never be the same again. It will continue spinning without them and we have to get used to that. The Book of Ecclesiastes in the Bible says: 

 “There is a time for everything, and a season for every activity under the heavens: a time to be born and a time to die”.  

Death is an entire season; not only the end of the existence of a human on Earth who was created and loved by God, but a prolonged period of growth and change for those of us left behind.  

Death deserves us to make a fuss.  

  

Review
Culture
Death & life
Film & TV
Trauma
5 min read

Bridget Jones: a brilliant mess of a movie

A fresh expression of lost, stolen, love.
A couple sit on outdoor seats, her resting her head on his shoulder.
Working Title Films.

I cannot overstate how low my expectations were going into this film. I love the first Bridget Jones, a classic of the (specifically British) romcom genre. The two sequels were tedious retreads, and the idea of number four in the series elicited the opposite of delight. I went to see Bridget Jones: Mad About the Boy out of parochial duty – many of the film’s beautiful exterior shots were filmed in my parish, at the church school and the surrounding streets. I wanted to ‘represent the parish’ and show some local pride. I wasn’t alone; I saw many faces I recognised from the school gates, and I ended up sitting next to a parishioner. Thank goodness cinemas are dark!  

You’ll understand by the end of the review. 

The film opens on Bridget, rather disorganised and dishevelled in just the manner we’ve grown to love, getting ready for a night out while also preparing dinner for her children. She and Mark Darcy now have two children, and the house looks like a cyclone has passed through. She calls Daniel Cleaver, who engages in some raunchy chat, and then insists he’s on his way. Oh no! Have she and Darcy divorced? Has that bounder and cad Cleaver wormed his way back in?  

Cleaver arrives at her home…to babysit!?  

Bridget hurries off to her dinner, and as she approaches her host’s front door she smiles. Darcy is walking towards her from the other end of the street. They meet at the door and lovingly complement each other’s appearance. They ring the bell. The door opens. Bridget in standing there. Alone. 

Bridget is a widow and a single mother. Her children are adorable, but hard work. She hasn’t worked properly since Mark died. She is both overwhelmed and yet also numb. She has no life or purpose outside of the chaos of her home. Her friends – especially her gynaecologist – encourage her to re-invent and re-emerge. Go back to work, go back to socialising, go back to dating. 

This is the first five/ten minutes of the film and sets the scene.  

To begin with the positive. The script is very funny. The direction is competent and even throws in a few unexpected and moving tableaux. The cast are on fire! Renée Zellweger could sleepwalk this role, scrunching her eyes in that endearing way on command. Leo Woodall is smouldering and hunky as the young lover, and Chiwetel Ejiofor is pure charisma and chemistry as the new science teacher Mr. Wallaker. Emma Thompson chews the scenery and delivers the best jokes as Bridget’s gynaecologist. The standout is Hugh Grant, who has immeasurable fun turning the roguish lothario Cleaver into the wittiest silver-fox we’ve seen on screen for many a year. He is at the peak of his career, and it is a joy to watch. 

But… 

None of it really hangs together. There is no real plot; there are little comedy sketches and episodes that jump from one to the other – never entirely unrelated, but never entirely coherent. 

This is a film of many subplots. The subplot of Bridget and the mums at the school gate. The subplot of Bridget getting back to work. The subplot of Bridget smoothing the rough edges off Mr Wallaker (who uses a whistle like a weapon). The subplot of Daniel, of her friends from the first film, of her parents, and so on and so on.  

There is the subplot of Bridget developing a new, modern, Tinder romance with a hunky Hampstead Heath ‘ranger’ (the ‘boy’ of the title). It could be argued this is the main subplot: Bridget finding new confidence and a new lease of life via a summer romance with a handsome younger stranger. It is also the most forgettable. It’s shallow, and is really only an excuse to make updated references to the original film. 

The film is a mess. 

And yet… 

I cried. I cried more than once, and proper tears. Thank goodness cinemas are dark, because no priest wants their parishioners to see them blubbing, especially while watching a Bridget Jones sequel! This mess of a film has a single strand that runs through it, gives shape to its episodic nature, and turns it from an ‘okay’ film into a brilliant film.  

Grief. 

Bridget is grieving Darcy. Her children are grieving their father. Cleaver is grieving the life he could have had – so committed to debauchery was he, that he has no one permanent in his life (except Bridget) and he hasn’t spoken to his son for nearly two decades. She and her friends are grieving the passing of the years, and the reality that they are 25 years older. Through the raunch, and crude jokes, and slapstick set-pieces, this film surprised me by being a slow-burn meditation on grief. I won’t say too much more about the film because – and I can’t believe I’m saying this about a Bridget Jones film – this film really does need to be experienced fresh.  

This is a welcome supplement and corrective to the Valentine season: an exploration of love that is lost or stolen away, and is sorely missed. It is a life-affirming bit of cinema, that takes you through the stages of grief (there is even a scene where her friends debate just how many stages there are) and the various methods we have for dealing with them. It even includes a clumsy little science/faith debate, and yet manages to conclude by encompassing all views. 

The film has a truly pastoral message. Grief cannot be avoided. Grief is a sign that love was real, and also that love cannot be snuffed out…even by death. Bridget intermittently has visions of Mark, and by the end of the film she has managed to make peace with those visions. They won’t leave her – her love for Mark won’t leave her – even as she experiences new love. Bridget ends the film recognising that her grief won’t leave her…and she can still live the fullest and happiest life possible. 

Go see it. It’s good to have a cry sometimes. 

4.5 stars 

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